Suprasegmentals PPTs PDF

**SUPRASEGMENTALS** **PPTs** **THE FORM OF INTONATION** In the description of intonation, pitch plays a fundamental role since it is the pattern of linguistically significant variations in pitch along a stretch of utterance what constitutes intonation. Pitch is an auditory sensation correspondin...

**SUPRASEGMENTALS** **PPTs** **THE FORM OF INTONATION** In the description of intonation, pitch plays a fundamental role since it is the pattern of linguistically significant variations in pitch along a stretch of utterance what constitutes intonation. Pitch is an auditory sensation corresponding to the physical phenomenon of the vocal folds\' vibration rate. The faster the vocal folds vibrate, the higher the pitch that will be perceived and viceversa. **INTONATION - PITCH RANGE** The highest and the lowest limits human voice can reach. Interfaz de usuario gráfica, Aplicación Descripción generada automáticamente **TONE** A continuous pitch movement from one level to another.  **TONALITY** Utterances are divided into smaller units called tone units, intonation phrases, or intonation groups. Single vertical lines separate tone units. Double vertical lines also separate tone units, but they also mark pauses. **TONICITY** Which syllable will carry the tone? Unmarked general pattern: the last lexical item (but any syllable may receive the tone depending on intended meaning). **STRUCTURE -- THE TONIC SYLLABLE OR NUCLEUS** The syllable that carries the tone becomes the **tonic syllable** or **nucleus** Other accented syllables before the TS are marked with ˈ, ˌ or ̊. **OTHER NON-OBLIGATORY ELEMENTS** Head: from the first accented syllable up to the tonic syllable. Pre-head: any unaccented syllable before the head. Tail: any syllable or syllables after the tonic syllable, accented or unaccented. The tail continues the movement of the TS. **RECAP** Intonation is the linguistically significant pattern of pitch variations in a stretch of utterance. Pitch is an auditory sensation that allows us to place voice in a range from low to high. A continuous movement from a pitch level to another is a tone. Utterances are divided into tone units (tonality). The syllable in a tone unit that receives the tone is called the tonic syllable or nucleus (tonicity). The TS is the only obligatory element in a tone unit. The head of a tone unit begins with the first accented syllable and ends up right before the tonic syllable. It can be high or low pitched. The tail is that part of the tone unit that includes any syllable(s), accented or unaccented, after the TS and it continues with the pitch movement of the TS. The pre-head is any unaccented syllable(s) before the head. **THE FUNCTIONS OF INTONATION** THE ATTITUDINAL OR EXPRESSIVE FUNCTION Emotions or attitudes are conveyed in speech, many times beyond lexical meaning. THE ACCENTUAL, INFORMATIONAL, OR FOCUSING FUNCTION It allows the speaker to draw the listener's attention to a certain piece of information. THE GRAMMATICAL FUNCTION Intonation makes it possible to differentiate the syntactic structure of utterances. It shows the difference between phrases, clauses, statements, questions, and other structures. It also indicates their boundaries. ‖ I **ˈ**wont have any ˏtea \| I dont ̀like it ‖ ‖ In ˇFrance ‖ where ˈfarms ˈtend to be ˇsmaller ‖ the ˈsubsidies are ˈmore im ̀portant ‖ ‖ ˈThose who ˈsold ˇquickly \| ˈmade a ˋprofit ‖ ‖ Those who ˇ sold \| ˈquickly ˈmade a ˋprofit ‖ THE DISCOURSE OR COHESIVE FUNCTION "It allows speakers to express their intentions, indicate the speaker\'s expectations about a listener's reply, facilitate cooperation between speakers in structuring a discourse, and mark the shared mutual knowledge of a speaker and listener." Chun (2002: 56) It allows us to distinguish between new and old information. (new information usually has falling tones and old ones rising tones) It marks contrasts or coherence between grammatical structures. (listing, narrating, contrasting in the same utterance). It signals turn-taking or what kind of response to a question or comment is expected from the listener. (Certain tones indicate you have finished speaking, and others indicate you still have something to say.). THE NATURALNESS OR INDEXICAL FUNCTION Distinctive intonation patterns allow us to tell who is speaking or that a certain kind of discourse is being spoken. In John Wells' words, "...intonation may act as a marker of personal identity. What makes mothers sound like mothers, lovers sound like lovers, lawyers sound like lawyers, \[...\] newsreaders sound like newsreaders." (2006). Distinctive intonation patterns allow us to tell who is speaking or that a certain kind of discourse is being spoken. It is also called the sociolinguistic function of intonation. THE LEXICO-SEMANTIC FUNCTION Tone languages like Mandarin Chinese or Vietnamese or sub-Saharan African languages like Akan or Ewe use pitch movement to convey lexical meaning. Tabla Descripción generada automáticamente con confianza media The Meanings of Intonation I Suprasegmental Phonology of English and Dialectology II Introduction Although there is no necessary link between certain intonation patterns and specific grammatical constructions, attitudes, emotions, or discourse elements, it is possible to draw generalizations and describe the most recurrent intonation patterns that fulfil the functions discussed Due to the inherent variability of language, speakers may use different intonation contours to express the same emotions, utter the same syntactic constructions, or convey the same intentions. However, speakers use a range of possible intonation patterns in determined situations. Intonation complements the meaning of a preposition and, in suitable contexts, adds personal meaning to it. The intonation patterns or contours presented here are primarily organized by combining the grammar, attitudinal, and discourse functions. An intonation pattern that expresses no meaning other than the one contained in the proposition uttered (the literal meaning) is considered unmarked (neutral or default). If the speaker intends to convey a specific meaning besides the one expressed in the proposition uttered, then the intonation pattern is said to be marked. Statements Unmarked pattern: high fall This most likely represents The high fall conveys the idea of finality or completeness in marked patterns. Other meanings associated with contours with a high fall are confidence, involvement, and no reservations or doubts. A low fall in a statement sounds objective. Other associated meanings are seriousness and detachment. A low fall preceded by a high head makes statements sound categorical, definite and direct. Contours with a fall-rise indicate that the speakers imply something else left unsaid or that they do not want to express. An utterance beginning with 'but' can make the implication explicit. A high-fall is used in the 'but' utterance. Speakers who want to be polite use a fall-rise to correct someone. If the interlocutors are not completely wrong, speakers may partially correct them with a fall-rise focusing on the right part of the information. Statements with a high head and a low rise express reassurance and encouragement and sound soothing or comforting. A rise-fall conveys the feeling of being strongly impressed, approving or disapproving firmly. It works as an intensifier. It can be used to sound ironic. The rise-fall is often used for gossiping. The Meanings of Intonation II WH- QUESTIONS Unmarked pattern: high fall The high fall sounds truly curious, you really want to know or need information. low fall The low fall sounds serious(business-like), detached, and even hostile. HIGH FALL VS LOW FALL A **mid-level tone** in the contour characterises routine questions; there is no genuine **interest** in the information provided. The question may be elliptical. A **low rise** in a wh-question sounds **friendly**, **polite, interested**, and **encouraging** (if the respondent is reserved). **HIGH FALL** VS **LOW FALL** VS **LOW RISE** A **high rise** calls for **repetition** or **clarification.** **YES/NO QUESTIONS** Unmarked pattern: low rise A fall-rise adds implicational meaning, a "because..." or something left unsaid. Yes/no questions acting as requests take a low rise just as a neutral yes/no question. Very common in everyday speech, elliptical yes/no questions have the same intonation pattern as grammatically complete questions. A high fall or a low fall sounds serious and insistent or reveals that the speaker needs a response urgently. DECLARATIVE QUESTIONS This type of question has the syntactic form of a declarative statement, but the rising intonation contour tells the listener that it is not a statement but an actual question. The tones used depend on the meaning; for example, surprise and disbelief use a high rise; seeking confirmation or simply requiring information use a low rise on the tonic syllable. ALTERNATIVE QUESTIONS Unmarked pattern: In alternative questions, speakers give their interlocutors a choice between two options (or more). The choices are linked by 'or'. We actually have two questions, one of which is elliptical. Question 1 has a low rise, and question 2 has a high fall. If there are more than 2 questions, all of them except the last one have a low rise. QUESTIONS TAGS There are two types of question tags: balanced and unbalanced. These are also called reverse polarity and constant polarity. Grammatically speaking, in balanced tags, the statement is positive, but the tag is negative. If the statement is negative, the tag is positive. BALANCED OR REVERSE POLARITY The statement will have any intonation pattern depending on the speaker\'s meaning. However, the tag may take a high fall or a low rise. A high fall on the tonic syllable seeks the interlocutor's confirmation of the information in the statement or agreement with what has been stated. It is not a genuine question. A low rise asks for information. It is a real question. UNBALANCED OR CONSTANT POLARITY This kind of question tag is less common than balanced tags. They are made up of a positive statement and a positive tag. Or, even more uncommon, a negative statement and a negative tag. The tone in unbalanced tags is always a low rise. The meaning implies that the speakers infer and comment on information from their interlocutor or the situation. WILL YOU? SHALL WE? AREN'T I? AM I? Commands followed by question tags "Will you?" sound less authoritative. The command becomes a request. Those utterances starting with "let's" followed by "Shall we?" are used to ask for the interlocutor/s' agreement to perform some action together or an invitation to perform such action. A low rise is used in both types of tags. After "I'm...", the tag is "Aren't I?". After "I'm not..." the tag is "Am I?" A high fall or a low rise is used in this case with the same meanings as regular question tags. TAG-TYPE RESPONSES Unmarked The usual pattern has a high rise. The basic intention of this kind of response -elliptical questions that look like question tags-is to express interest in what has been said. It is a resource to keep the conversation going. If speaker A utters an affirmative statement, the response must be affirmative. If the statement uttered is negative, then the response is negative. If speaker A utters a negative statement, the response must be negative. A low rise expresses disapproval or scepticism. A high fall expresses mild surprise but acceptance of what has been said. A low fall expresses a lack of interest or hostility. A fall-rise indicates doubt or disbelief, and it's also used to disagree politely. **THE MEANINGS OF INTONATION III** PRESENTING & NARRATING/STORYTELLING Unmarked pattern: a low rise or a fall-rise indicate non-finality. The head of the tone unit is usually high. Conclusion, completeness, or finality are indicated by a high or a low fall. Unmarked pattern: high or low fallcomplete idea, finality, completeness. low rise non-finality. A high head and a falling tonic syllable may appear when narrating; or a variation including a high head, level tones, and a falling tone to signal finality. CLOSED LISTS All elements before the last one have the same tone. The most usual pattern is a sequence of items with a low rise, with the last having a high or low fall. The list is complete as long as the final element has a different tone and all the other elements have the same one. OPEN LISTS All elements, including the last one, have the same tone. The most common pattern is using a low rise in all the list elements. DEPENDENT ELEMENTS These may be adverbial or prepositional phrases or clauses that are not complete and attached to other independent clauses. The dependent element has a rising tone: a fall-rise if it precedes the independent clause, but a low rise if it follows it. ‖ After ˇlunch \| we could ˈcall on ̀Mary ‖ ‖ We could ˈcall on ̀Mary \| after ˏlunch ‖ ‖ They're arˈrivingto ̀morrow \| as ˈfar as I ˏknow ‖ ‖ As ˈfar as I ˇknow \| They're arˈrivingto ̀morrow ‖ ‖ If you're ˇready \| we could ̀begin ‖ ‖ We could ̀begin \| if you're ˏready ‖ ‖ I'd rèjectedit \| if ˈI were ˏyou ‖ ‖ If ˈI were ˇyou \| I'd rèjectedit ‖ ‖ ˇUsually \| we have ˈlunch at around ̀one ‖ ‖ We have ˈlunch at around ̀one \| ˏusually ‖ ‖ ˈAfter I had typed the ˇdocument \| I ˈfound lots of misˈspelled ̀words‖ ‖ It's ˈsimpler than ˈmost of you ̀think \| in myˏview ‖ ‖ Since there's no more ˇquestions \| ˈthe class is ̀over ‖ ‖ It won't ̀work \| I'm aˏfraid‖ PARENTHETICAL INFORMATION Certain tone units containing information that can be considered additional or less important than the surrounding tone units will typically have a rising tonic syllable. This information interrupts the main clause, dividing it into two. It may link two clauses or even come after the utterance containing the most important information. They are also characterized by being said in a low pitch (low key), more rapidly, and reduced in loudness. ‖ I ̀am \|as you can iˏmagine\| very ˈupset about the ˈmark I ˈgot at the ̀test ‖ ‖ My friend ˏJulia \| over ˈthere with her ˈhands in her ˇpockets \|is now ̀waiting for me ‖ ‖ I ̀am \|as you can iˏmagine\| very ˈupset about the ˈmark I ˈgot at the ̀test ‖ ‖ My friend ˏJulia \| over ˈthere with her ˈhands in her ˇpockets \|is now ̀waiting for me ‖  ASSIMILATION OF CONSONANTS IN CONNECTED SPEECH Introduction Understanding Connected Speech Processes It is common that in rapid speech speakers are more often concentrated on what they are saying rather than on how they are saying it. "In normal informal speech when the speaker is concentrating on what he is saying, and not on how he is saying it, he will tend to articulate in the most efficient manner --he will make articulatory gestures that are sufficient to allow the units of his message to be identified but he will reduce any articulatory gesture whose explicit movement is not necessary to the comprehension of his message." (Brown,1990 p. 56) The most common ways of making your message intelligible and, at the same time, efficiently pronounced, leaving out any articulations that are not essential for the comprehension of your message, are: 1\. Assimilating sounds to adjacent sounds: \, careful pronunciation: \[ɪn̠ ðə\]; simplified pronunciation: \[ɪn̪ ðə\]. 2\. Eliding sounds which are not indispensable for comprehension: \, careful pronunciation: \[ˈsɒft̠wɛː\] or \[ˈsɒft̠̚wɛː\]; simplified pronunciation: \[ˈsɒfwɛː\] \: careful pronunciation: \[ði ˈaʊəz\] ; simplified pronunciation: \[ði ˈaəz\] 3\. Reducing vowels in unaccented syllables to \[ə i u\]or simplifying triphthongs (sequences of a diphthong plus a vowel) by: \, pronunciation without reduction: \[at̠̚ n̠uːn̠\]; pronunciation with vowel reduction: \[ət̠̚ n̠uːn̠\]. \, pronunciation without vowel reduction: \[ˈwɒt̠̚ d̠uː juː\] pronunciation with vowel reduction and consonant elision\[ˈwɒd̠ə jə\]. 4\. Linking or liaison: this process occurs in either slow, careful speech or rapid informal speech to favour fluency. It implies linking word-final consonant sounds to word-initial vowel sounds, using intrusive sounds, or using linking sounds. \ \[ɹʌn̠  ͜ ˈaʊt̠  ͜  əv\], \[ɹʌn̠ˈaʊt̠əv\], \[ɹʌn̠ˈaʊt̬əv\], \[ɹʌn̠ˈaʊɾəv\] \ \[ˈlɔːɹ ͜  ən̠ ˈɔːd̠ə\], \[ˌlɔːɹən̠ˈɔːd̠ə\] \ \[ðiʲ ˈɛn̠d̠\] \ \[ˈt̠ʰuːʷ ˈɪəz\] UNDERSTANDING ASSIMILATION Assimilation is a phonological process where a consonant sound changes to become more like an **adjacent** sound in connected speech. This change involves changing one or more articulatory features of one or the two sounds (voicing or action of the vocal folds, point of articulation, manner of articulation). It helps reduce articulatory effort and increases speech fluency. It varies in extent according to speaking rate (tempo or speed) and style(degree of formality). It occurs often in rapid, casual speech, but it is less common in slow, careful speech. Assimilation often happens unconsciously and reflects the speaker\'s adaptation to speech economy. WHY ASSIMILATION OCCURS **Ease of Articulation:** Speakers naturally simplify speech production by minimising movement between articulatory positions. **Speech Fluency:** Assimilation facilitates smoother transitions between sounds, allowing for faster and more efficient communication. **Coarticulation:** There is overlapping of articulatory movements in connected speech that leads to sound changes due to the physical constraints of speech organs. **Contextual Influence:** The phonological environment (adjacent sounds) determines how assimilation occurs. Alveolar consonants commonly undergo assimilation (de-alveolarization). Listeners often perceive **assimilated speech** as **more natural.** \ Clear articulation of each consonant without assimilation: \[ˈɪn̠pʊt̠\] Casual, fast speech: \[ˈɪmpʊt̠\] \ Clear articulation without assimilation: \[ɪn̠ ˈcʰeɪs\] Casual, fast speech: \[ɪŋ̘ ˈcʰeɪs\] ASSIMILATION BY DIRECTIONALITY Progressive Assimilation (Forward): the preceding sound influences the following sound. \ \[pʰɹ̝̥ɪn̠t̠\] Regressive Assimilation (Backwards): The following sound influences the preceding sound. \ \[ˈɪɱfn̠̩t\] Mutual Influence: Adjacent sounds adjust features simultaneously \ \[ɹiːd̪̚ ðat̠\] \[ɹiːd̪̚ d̪at̠\] \ \[ kɔːɫ̪ ðəm\]\[ kɔːɫ ləm\] (elision is posible here) \[kɔːl əm\] \ \[ɪn̪ ðə haʊs\] \[ɪn̪ n̪ə haʊs\] (elision is possible here) \[ɪn̪ ə haʊs\] Fusion of two sounds into one: Two adjacent sounds **merge** into one sound, incorporating features from both.  \< won't you\> \[wəʊn̠t̠̚ ju\] \[ˈwəʊŋ̘tʃu\] \ \[ˈjuːˌtjuːb\]  \[ˈjuːˌtʃuːb\] \ \[d̠ɪd̠̚ ju\] \[ˈd̠ɪdʒu\] \ \[d̠jɔːˈɹeɪʃn̠̩\] \[dʒɔːˈɹeɪʃn̠̩\] ASSIMILATION BY PHONOLOGICAL FEATURE **Feature-Based Types of Assimilation** Assimilation of point of articulation (POA) : There is a change in the point of articulation of a consonant to match the poa of its neighbouring consonant. This is the most common type of assimilation. \ \[ðat̠̚ ˈpʰeɪpə\]  \[ðap̚  ˈpʰeɪpə\] (from alveolar to bilabial) \ \[ɪɱˈvaɪɹn̠̩mən̠t̠\] (from alveolar to labiovelar) \ \[ˈhɔːsʃuː\]  \[ˈhɔːʃʃuː\] (from alveolar to palatoalveolar) Assimilation of manner of articulation (MOA) : There is a change in the manner of articulation of a consonant to match the moa of its neighbouring consonant. This type of assimilation is not common. \ \[dʒɔɪn̪ ði ˈɑːmi\]  \[dʒɔɪn̪ n̪i ˈɑːmi\] (from fricative to nasal) \ \[ðat̠ sɒŋ\]  \[ðas sɒŋ\] (from stop to fricative) Assimilation of voicing (V) : There is a change from voiced (lenis) to voiceless (fortis) to match the "voicelessness" of its neighbouring consonant.  \ \[ðat̠s ði\] \[ðat̠s si\]\*** **\, the contraction of /ɪz/and /haz/, preceded by pronouns ending in /t/. \ \[ɪt̠s\] \  \[wɛːʒ ʒɔːz\] \*s progressively devoices j. **Reciprocal assimilation of point, manner of articulation, and voicing** This type of assimilation occurs in the most rapid, casual style. d̠ and n̠ followed by initial ð in unaccented words like \ etc., may be pronounced d̪̚d̪ and n̪n̪ respectively. The POA is dental. The MOA is stop or nasal. \ \[ɒn̪ n̪at̠̚\] \ \[n̠iːd̪̚ d̪ɪs\] **ASSIMILATION BY DIRECTIONALITY AND PHONOLOGICAL FEATURE -- COALESCENT** **Coalescent assimilation** In this type of reciprocal assimilation, two adjacent consonant sounds merge into one, incorporating features from both. It is also known as yod coalescence since it involves merging t or d with j. \ \[ˈɹaɪtʃu ɑː\] \ \[ˈstʃuːd̠ⁿn̠̩t̠\] \< but you\>, \, \, \, \, \\*, \ \ \[faɪŋ̘ˈdʒɔːz\] \ \[dʒuːn̠\] \, \, \, \ **Recap** 01 Assimilation is one way of simplifying pronunciation in rapid speech. 02 Some sounds are affected by adjacent sounds and change in poa, moa, or voicing. 03 Alveolars are most usually assimilated to neighbouring sounds. 04 Assimilation is classified according to the features affected and according to direction: assimilation of poa, of moa and of voicing; regressive assimilation; reciprocal assimilation; progressive assimilation; and coalescent assimilation. 05 Regressive assimilation is the most common type. It happens when a word-final consonant sound is changed by a word-initial consonant sound at word boundary or interword. 06 Progressive assimilation involves an initial consonant being affected by a final one at word boundary or interword. 07 At morpheme boundary we find progressive assimilation of voicing the contractions of \ and \. 08 Reciprocal assimilation affects two adjacent consonant sounds regressively and progressively; the sounds involved change poa, and additionally, the initial consonant changes moa. 09 Coalescent assimilation is a kind of reciprocal assimilation. It involves two consonants merging or fusing into a third one with features from the two original sounds.